論台灣前衛藝術的美學——從康德觀點出發

Taiwanese Avant-garde art from a Kantian point of view: A transition to the aesthetics of the sublime

艾坦丁(Azarov Konstantin V.)

指導教授 ： 張國賢 ； 文哲

國立政治大學/文學院/哲學系/博士(2019年)

https://doi.org/10.6814/NCCU201900191

摘要

藝術學曾經相信藝術圍繞美的觀念。可是前衛藝術以後這個觀念很明顯已經有所改變了。利奧塔建議以「崇高」替代「美」。這樣的替代是康德美學偉大的好處，可是藝術怎麼圍繞「崇高」的觀念? 「崇高」是一個為了西方藝術設計的觀念，「崇高」的基礎是西方哲學。此外，現代的藝術世界面臨全球挑戰。
在這篇論文裡，我把過渡到崇高的美學認為是台灣前衛藝術的模型，而台灣前衛藝術的時期是在六○年代。在論文的序言裡，介紹了這個模型的三大重點：前衛藝術是什麼、康德崇高的理論是什麼、利奧塔跟別的研究者怎麼用崇高的理論來了解前衛藝術。論文第二章討論台灣前衛藝術的歷史背景。它簡短說明六○年代以前台灣的藝術世界是怎麼樣。論文第三章談到示範模型與模型在台灣怎麼運作。第四章討論怎麼崇高美學的模型不復存在了。
崇高怎麼在前衛藝術裡運作？按照康德的說法，崇高的重要特色是理性的能力在感性不堪重負的時候仍然能認知客體。給我們崇高的感覺的客體是從我們的感性來認為其太大或者太有力。太大的客體給我們感覺叫「數學崇高」(mathematische Erhabene)。根據康德的看法，這是為什麼埃及金字塔引起興趣的理由。馬列維奇的《黑方塊》(1915)是為了這個理性能力完善的實驗對象。因為畫是一扇窗可以讓觀者靜觀畫裡的世界，《黑方塊》的觀者靜觀黑暗的宇宙。這就是為什麼《黑方塊》會讓敏感的觀者引起崇高的感覺的理由。對敏感的觀者來說《黑方塊》是一個巨大的深淵。
在台灣前衛藝術裡馬列維奇的方塊找到很有趣的對照：李元佳的點。馬列維奇與李元佳用他們的主題抽象主義形式，方塊與點，用來指出絕對。《黑方塊》第一次展覽的時候馬列維奇把《黑方塊》放在所謂的「紅角」（«красный угол»）。「紅角」是俄國人在家中放置聖像的神聖地方。李元佳用道教象徵主義創立了他的點。因此，一些批評者叫它「宇宙點」。點的大小，按照幾何學，是任意性的。歐幾里德對點的定義：「是沒有部分的實體。」方塊的固定性與點的難以捉摸的差別，就好像東西方不同的思考模式。西方東方想法的不同，就是西方哲學研究的重點在於宇宙的永恆不變，而東方哲學著重變化無常的道。我的論文的目的就是說明為什麼在李元佳的點與馬列維的方塊中間有這樣的相似與差異。

關鍵字

康德 ； 利奧塔 ； 康德的美學 ； 台灣前衛藝術 ； 李元佳 ； 劉國松 ； 台灣原住民藝術 ； 地方色彩 ； 康丁斯基 ； 馬列維奇 ； 台灣藝術 ； 原住民藝術 ； 美學 ； 中國美學 ； 台灣藝術 ； 比較美學 ； 前衛藝術 ； 崇高

並列摘要

Art studies used to believe that art is centered around the idea of the beautiful, but since the time of the Avant-garde this has changed. Lyotard's theory suggests an alternative: the sublime. It is a great advantage of Kantian aesthetics that it can suggest such an alternative center. How well this new center functions is a different question. It was tailored for Western art on the basis of Western thought, but contemporary art faces global challenges of non-western aesthetic values.
This thesis uses a transition to the aesthetics of the sublime as a model for the Avant-garde art of Taiwan. In the introduction to the thesis an exposition of the elements of this model is given: what is Avant-garde art, what is Kant's theory of the sublime and how is Kant's theory applied to Avant-garde art according to Lyotard and others. The first chapter presents the background of the sublime aesthetics in Taiwan. A brief exposition of the Taiwanese art world before the 60s is given. The second chapter demonstrates the model and how it works on the material of Taiwanese Avant-garde of the 60s. The end of the aesthetics of the sublime is presented in the last chapter.
How is the sublime aesthetics operating in Avant-garde art? One of the important moments of sublimity for Kant is the mind's ability to grasp the object conceptually while being overwhelmed by it regarding the limits of the senses. The object felt to be sublime is too big or too forceful. For Kant, this is why the pyramids of Egypt are so fascinating for human beings. This feeling is called the mathematically sublime. In the Black Square (1915) by Malevich this ability of the mind can find an ideal object for practice: the viewer is exposed to an endless space of blackness from one side of the frame to another. Traditionally, the painting is a window to a particular world. The Black Square is like a window to the universe of darkness. That is the reason why the Black Square can produce a sublime feeling in a sensitive viewer. For such a viewer the Black Square looks like a tremendous abyss.
In Taiwanese Avant-garde art Malevich's square finds an interesting equivalent in Li Yuan-Jia's (李元佳) point. Li Yuan-Jia was interested in this graphical element, which at the same time is a concept in mathematics. Both Malevich and Li Yuan-Jia used their signature forms of abstract art, a square and a point, to refer to the absolute. During its first exhibition, Malevich puts the Black Square in a sacred place of the traditional Russian house – in a red corner, where house icons are supposed to be. Li Yuan-Jia builds on Daoist symbolism to ground his own 'Cosmic Point', as critics call it. The stability of the Black Square, the way it is filled with color from border to border contrasts with the elusiveness of the point, for which, as geometry supposes, real size stands for no size at all. A point, to quote Euclide, “is that which has no part.” The contrast between the square and the point finds itself in parallel with the fundamental distinction of Western and Chinese styles of thinking: the world as something permanent or as endless change. The thesis illuminates the reasons which lead to the differences and the similarities of Li's point and Malevich's square.

並列關鍵字

Kant ； Kantian aesthetics ； Avant-garde art ； Taiwanese Avant-garde art ； Li Yuanjia ； Liu Guosong ； Kandinsky ； Taiwanese indigenous art ； Indigenous art ； Chinese Aesthetics ； Comparative aesthetics ； Aesthetics ； Lyotard ； Malevich ； Sublime ； Local color

參考文獻

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